Glyndebourne influenced latest ‘Don Giovanni’

Press, 24 June 1985, Page 10

Glyndebourne influenced latest ‘Don Giovanni’

Classical records review ALLAN FRANCIS

DON GIOVANNI. W. A. Mozart, recorded in 1984 by HMV and based on Sir Peter Hall’s Glyndebourne ? reduction by the London hilharmonic Orchestra, conducted by Bernard Haitink. Soloists include Thomas Allen as Don Giovanni, Richard van Allen as Leporello, Maria Ewing as Donna Elvira, Carol Vaness as Donna Anna and Keith Lewis as Don Ottavio. WORLD RECORDS W191073.

In keeping with the composer’s directions this latest “Don Giovanni” is nicely balanced with the bass-bari-tone combination, regardless of voice quality or other considerations. One might wonder, though, at the large number of versions of the opera available — this one is the twelfth in the current catalogue — yet each one seems to bring out some fresh detail arousing interest once more.

In each case the work is dominated by one member. Siepi’s magnificence in the Krips and Leinsdorf versions ensured that Giovanni remained the central figure.

Schwarzkopfs Elvira in the Giulini account eclipsed the others, as did Margaret Price’s Anna with Solti. Here, the role switches back to Giovanni with Thomas Allen who gives the rake a more straightforward character than the leering Weikl from Solti or the muscular heftiness of the bass version from Maazel (CBS 79321).

The rich darkness of Richard van Allen’s bass is also less melodramatic than many of his predecessors. He is a likeable ruffian, quite masterly in the technique of distinguishing between asides and conversation. The success of the partnership again stems from the Glyndebourne experience and the vast importance of Sir Peter Hall’s 1982 production. Other cast comparisons are less clear-cut. Maria Ewing’s Donna Elvira is certainly rougher in tone than Kiri Te Kanawa’s, but at the same time, cannot be easily dismissed. Her projection of hurt pride is second to none; her more forthright manner gives the role a determination that some placid singers have

failed to do. Much the same may be said of Carol Vaness’ Anna. It appears that Haitink has almost deliberately set out to dress his characters in starker, less glossy colours than before. Carol Vaness is equally forceful, an imposing figure properly outraged by Giovanni’s behaviour.

Keith Lewis, Ottavio, carries on the line of British Mozartian tenors running from Heddle Nash in the twenties, through to Richard Lewis and Stuart Burrows. He is, in fact, a New Zealander and sang this role at Glyndebourne in 1978 and

again in 1982 in the Sir Peter Hall production. Unlike the other principals, however, his role is marked by a lightness and smoothness that is not evident elsewhere. The remaining roles are adequate enough — Elizabeth Gale as Zerlina, John Rawnsley as Masetto, and Dimitri Kavrakos as the Commendatore.

The teamwork is beyond reproach, possibly the result of the Glyndebourne influences. The stage presentation was generally recognised as being “profoundly satisfying,” so it was inevitable that the recording was intended to duplicate this end.

Haitink, too, follows deliberately in the path of the great Glyndebourne predecessor, Fritz Busch, as well as the great German conductor, Karl Bohm.

The tempos are not all revolutionary here. Haitink has never sacrificed speed to gain an illusion of urgency. It comes as no surprise, therefore, to find that he is alert to the importance of rhythmic impetus, as well as the attention to such details as the impact of Giovanni’s damnation scene and what might be considered the right amount of embellishment.

None of the magic of the great work is tarnished here. One gets the feeling, however, that Haitink is trying to get back to the performances of the thirties, pursuing the interpretations of those times, without any gloss or softening influences that could cloy the sharpness of definition. Many will place it on the top of the pile.